(Rated 6/5 )
Having seen Derek Jacobi’s Lear at the very intimate Donmar –
and again at the cinema for an NT Live – and kind of not wanting to think about
aging so much right now – I wasn’t sure I wanted to do Lear again just yet. BUT
it was billed as Ian McKellan’s Shakespeare on stage swan song, and my
companion for this one was keen so off we went. I also wasn’t sure about being
in the back row (the only two seats left when I booked!) – back row cinema is
one thing but at the theatre can you even see the actors’ faces – and without
that – what’s the point? How wrong could I be?! The Duke of York’s had been
converted into an intimate space with the removal of seats down the middle and I
wound up sitting right next to where actors made their exits and entrances
along the gangway in between. I felt right in the action and could see into the
room backstage in which actors were preparing before or resting after a stint
on stage.
And then there’s that writer! However many times you have
seen a Shakespeare play there is always more to get from it. Sir Ian giving us
his Lear – and again of course there’s always something new a different actor
can give to one of Shakespeare’s key roles. It’s so exciting to experience new
insights illuminated before you. Ian is a natural – there’s kind of a calm and
safety you feel watching him – he can do nothing else than deliver the goods. Incomparable
yes but then we all are! He does reign effortlessly supreme though – switching from
Lear’s strength of mind to the weakness of emotionally addled thinking with convincing
ease.
Sinead Cusack as Kent was brilliant! Such an inspired novelty
for Kent to be a woman - who then disguises herself as a man ;). Her devotion
to and yet challenge of Lear was empowering.
Lloyd Hutchinson was a good fool though for me not
outstanding. To my memory the fool usually makes more impact in this play but I
wonder if his part was cut somewhat or my memory is misguiding me ;)
Danny Webb provided an excellent Gloucester. Goodness though
that eye scene with Kirsty Bushell’s Regan screaming with ecstasy as she
pranced around him. There was a nervy, almost annoying, craziness about her -
then again maybe a very good choice – after all she isn’t played to be liked.
Claire Price’s Goneril was calculating – a very cool performance.
Luke Thompson’s Edgar was my companion’s eye candy! He did
look very nice with little to cover his modesty and the journey of his
character I find so moving – saving his father Gloucester in more ways than one
- from his dastardly bastard brother Edmund – James Corrigan – who played his
part with humour.
Anita-Joy Uwajeh was a lovely powerfully sensitive Cordelia.
As many know it is her ‘Nothing’ with her father’s ‘Nothing will come of
nothing, speak again’ response, when she is asked what she has to say about her
feelings for him, which catalyse the main drama of the play. I was struck in
watching this performance by how that interaction occurs and from then on Cordelia
appears very little. We get more of the son-father interaction between Edgar
and Gloucester and I feel Shakespeare missed a trick there! Goodness, am I really
saying that?! Criticising the master haha! Then again I am a daughter and not a
son. As it is the other two sisters do feature large in this play. Maybe the
good don’t need to say much or do much to have great impact. In fact ‘nothing’
needs to be said and just being there is all that needs to be done J
This is a suitably impressive production of a profound play, directed by Jonathan Munby.
And at his solo curtain call Sir Ian stood with a gentle
smile looking around taking us all in. Such impact in just being – his quiet
presence speaking volumes - saying nothing.
King Lear – Review by TheRestrictedReviewer © 2018
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